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    Home » “300” Sequel Debuts With Box Office-Leading $45.1 Million

    “300” Sequel Debuts With Box Office-Leading $45.1 Million

    By SHOOTSunday, March 9, 2014Updated:Tuesday, May 14, 2024No Comments3244 Views
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    • Image
    This image released by Warner Bros. Pictures shows Eva Green in the film, "300: Rise of an Empire." (AP Photo/Warner Bros. Pictures)

    By Jake Coyle, Film Writer

    NEW YORK (AP) --

    The shirtless warriors of the "300" sequel "Rise of an Empire" ravaged the post-Oscars box-office weekend with a domestic debut of $45.1 million but an even bigger international haul of $87.8 million.

    Seven years after the original "300" became an unlikely, ultra-stylish, blood-soaked sensation, Warner Bros.' 3-D follow-up showed considerable might at the box office. While "300: Rise of an Empire" didn't come close the North American debut of Zack Snyder's 2007 original ($70.9 million and without the benefit of 3-D ticket prices), it performed like a blockbuster overseas.

    "Rise of an Empire," which with flexed torsos and R-rated bloodshed further chronicles the ancient battles of the Greeks and Persians, led a busy box-office weekend that also saw an Academy Awards bump for "12 Years a Slave" and one of the highest per-screen averages ever for Wes Anderson's European caper "The Grand Budapest Hotel."

    Though "300: Rise of an Empire" is excessively macho, Eva Green — the film's fiercest presence — may have drawn females for what was always going to be a male-centric release. Whereas the female audience for the first "300" was only 29 percent, it was 38 percent for "Rise of an Empire."

    "Talk about female empowerment," said Jeff Goldstein, head of domestic distribution for Warner Bros., said of the "Casino Royale" actress.

    Noting the popularity of 3-D and IMAX screenings for the movie, Goldstein credited the visual panache of producer Snyder (Noam Murro took over directing), who drew directly from Frank Miller's graphic novels: "He brings a lot to the screen that mesmerizes you."

    Paul Dergarabedian, senior media analyst for box-office tracker Rentrak, said the "300" franchise "translates to virtually every culture. Every country can appreciate the visuals of these movies."

    The week's other new wide release, 20th Century Fox's animated "Mr. Peabody & Sherman," opened in second with $32.5 million. Though the performance was better than some expected, it's a relatively low total for a film that cost about $140 million to make.

    The film is based on the cartoon about a time-traveling boy and his brilliant dog from "The Rocky and Bullwinkle Show." Some of the family film market was likely taken by Warner Bros.' hit "The Lego Movie," which added $11 million in its fifth weekend.

    The Liam Neeson thriller "Non-Stop" slid to third place with $15.4 million in the Universal release's second weekend after topping the box office last week.

    In limited release, "The Grand Budapest Hotel" made an astounding average of $200,000 on four screens in New York and Los Angeles. Fox Searchlight will expand the film by 65 to 75 theaters next week.

    The specialty studio also celebrated the best picture Oscar win for "12 Years a Slave" with a notable bump of $2.2 million, even though it was released on DVD and video-on-demand Tuesday. That was up 123 percent on the prior weekend for the film, which first opened in November.

    "12 Years a Slave" drew even more international interest, where it made $9.1 million as moviegoers flocked to see the Academy Award winner.

    ___

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Rentrak. Where available, latest international numbers are also included.

    1. "300: Rise of an Empire," $45.1 million ($87.8 million international).

    2. "Mr. Peabody & Sherman," $32.5 million ($21 million international).

    3. "Non-Stop," $15.4 million ($12 million international).

    4. "The Lego Movie," $11 million ($9.9 million international).

    5. "Son of God," $10 million.

    6. "The Monuments Men," $3.1 million ($3.7 million international).

    7. "3 Days to Kill," $3.1 million.

    8. "Frozen," $3 million ($3.6 million international).

    9. "12 Years a Slave," $2.2 million ($9.1 million international).

    10. "Ride Along," $2 million ($1.8 million international).

    ___

    Estimated weekend ticket sales Friday through Sunday at international theaters (excluding the U.S. and Canada) for films distributed overseas by Hollywood studios, according to Rentrak:

    1. "300: Rise of an Empire," $87.8 million.

    2. "Mr. Peabody & Sherman," $21 million.

    3. "Non-Stop," $12 million.

    4. "The Lego Movie," $9.9 million.

    5. "12 Years a Slave," $9.1 million.

    6. "The Hobbit: The Desolation of Smaug," $8 million.

    7. "Supercondriaque," $7.5 million.

    8. "The Grand Budapest Hotel," $6.2 million.

    9. "Pompeii," $6.1 million.

    10. "Monuments Men," $3.7 million.

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    Tags:300: Rise Of An Empirebox office



    California May Fine Content Creators Who Don’t Disclose They Were Paid To Post About Politics

    Saturday, August 8, 2026

    Weeks before voting ended in California's primary for governor, Los Angeles-based influencer Shaka Smith took to Instagram to tell his more than 700,000 followers whom he was voting for and why.

    "Healthcare shouldn't bankrupt you, housing should not feel impossible, polluters shouldn't pass their bill to us and artists should not be replaced by AI," Smith said. "That's why I'm supporting Tom Steyer for governor."

    But Smith started the video with a disclaimer: "This is an ad, and honestly, I wish more political content said that first." His caption specified that he was paid by Steyer's campaign.

    California is one of two states, along with Texas, that have passed policies requiring content creators to say if they've been paid by a political campaign to post, and the Golden State is considering cracking down by fining people who don't.

    Campaigns have long worked with celebrities and major influencers to win over voters, but now they are teaming up with smaller creators — sometimes with fewer than 100,000 followers — to reach more tailored audiences. That has sparked debates about whether disclosure rules for political advertisements should apply to content creators, who are expected to play prominent roles in the upcoming midterms and the 2028 presidential election.

    "If you're running for president and you are not currently trying to court some of these people or lining up your own people to act as surrogates for you, you're already behind," said Mike Nellis, a Democratic strategist who worked for Kamala Harris' presidential campaign.

    Campaigns tap creators to spread their message
    Questions about transparency have been fueled by high-profile instances of influencers making content intended to... Read More

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